Archive
THE INFORMER – Max Steiner
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Director John Ford came across a 1925 novel, The Informer by Liam O’Flaherty, which explored the dark underside of the Irish War of Independence. He felt that the story provided suspense, drama, betrayal, and tragedy, which would translate well to the big screen. RKO Studios however was reticent to proceed with the project due to its depressing subject matter and unsympathetic lead, but they relented following Ford’s great success with his prior film The Lost Patrol, which earned their trust and permission to proceed with a budget of $250,000. Dudley Nichols was hired to write the screenplay and a fine cast was assembled which included Victor McLaglen as Gypo Nolan, Heather Angel as Mary McPhillip, Preston Foster as Dan Gallagher, Margot Grahame as Katie Madden, Wallace Ford as Frankie McPhillip, and Una O’Connor as Mrs. McPhillip. Read more…
JUAREZ – Erich Wolfgang Korngold
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
In 1935 producer Hal Wallis sought out director Max Reinhardt’s assistance in his next project; bringing the tale of Maximilian and Juárez to the big screen. He believed that Bertita Harding’s 1934 novel The Phantom Crown was a tragic tale, which needed its story told. Jack L. Warner agreed and purchased the film rights to the novel, as well as the play “Juárez and Maximilian” by Franz Werfel. He tasked Aeneas McKenzie in writing the screenplay, and to ensure historical accuracy three hundred books were acquired on the subject and two historians were hired to assist with the script. The initial script was too massive to present in a single film, so John Huston and Wolfgang Reinhardt were hired to make the necessary edits. Progress was made and in 1938 the studio gave the green light for production with William Dieterle was given the director reins. A stellar cast was hired, with Paul Muni as Benito Juárez, Bette Davis as Carlotta of Mexico, Brian Aherne as Maximilian I of Mexico, Claude Rains as Emperor Napoleon III of France, and John Garfield as Porfirio Diaz. Read more…
THE QUIET MAN – Victor Young
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Director John Ford read the story “The Quiet Man” by Maurice Walsh in the Saturday Evening Post, liked it, and purchased the film rights for $6,260 In 1944 he approached actor John Wayne and made a gentlemen’s agreement to make a film, which would be set in Ireland. However, to their dismay, every studio turned them down saying their idea was “a silly Irish story that won’t make a penny”. Undeterred they went to Republic Pictures studio executive Herbert J. Yates and negotiated a deal; if he would fund the film Wayne and co-star Maureen O’Hara would agree to first make a Western for Republic. Yates agreed and they made the successful film “Rio Grande” in 1950. They got the green light to proceed and Ford would produce and direct the film with a generous $1. 75 million budget. John Wayne would star as Sean Thornton and Maureen O’Hara would play Mary Kate Danaher. Joining them would be Barry Fitzgerald as Michaleen “Óge” Flynn, Ward Bond as Father Peter Lonergan, and Victor McLaglen as Squire “Red” Will Danaher. Read more…
THE NUN’S STORY – Franz Waxman
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Director Fred Zinnemann was intrigued by Kathryn Hulme’s best-selling novel “The Nun’s Story (1956) and purchased the film rights. To his dismay, he could not obtain financial backing from any studio as they all felt that the lack of action would not resonate with audiences. All this changed dramatically when Audrey Hepburn decided she wanted to take on the role of Gaby Van der Mal. A bidding war ensued with Warner Brothers prevailing. Henry Blanke was hired to produce the film with a 3.5 million budget. Robert Anderson was tasked with adapting the novel and writing the screenplay. Zinnemann would direct and he assembled a fine cast. Joining Hepburn would be Peter Finch as Dr. Fortunati, Dame Edith Evans as Mother Emmanuel and Dame Peggy Ashcroft as Mother Mathilde. Read more…
FOR WHOM THE BELL TOLLS – Victor Young
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
American novelist Ernest Hemmingway’s latest novel “For Whom The Bell Tolls” (1940) offered a potent commentary on the Spanish Civil War, which many studios believed could be adapted to the big screen. However, Hemmingway’s demand of $100,000 for the film rights, and control of selecting the principal actors was a non-starter. Paramount however, thought differently having successfully produced his earlier novel “A Farewell to Arms” (1932), which agreed to pay an astounding $150,000 for the film rights and acceded to Hemmingway’s demand that he would choose the two leads – Gary Cooper and Ingrid Bergman. After Cecil B. DeMille dropped out of producing and directing the film, Sam Wood took over the reins, and would produce and direct the film with a budget of $3 million. He brought in Louis Bromfield to rework the existing script, with Dudley Nichols finally completing the screen play. An exceptional cast was assembled including Gary Cooper as Robert Jordan, Ingrid Bergman as Maria, Akim Tamiroff as Pablo, Katina Paxinou as Pilar, and Joseph Calleia as El Sordo. Read more…
RED RIVER – Dimitri Tiomkin
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Producer-Director Howard Hawks had long desired to make a Western and finally found his vehicle after reading “The Chisolm Trail” (1946) by Borden Chase in the Saturday Evening post. He secured Monterey Productions to fund the project, providing a generous budget of $2.7 million. This was a passion project, and so Hawks decided to both produce and direct the film. He tasked Chase to adapt his novel and Charles Schnee assisted in writing the screenplay. A stellar cast was hired, which included John Wayne as Thomas Dunson, Montgomery Clift making his acting debut as Matt Garth, Walter Brennan as Nadine Groot, Joane Dru as Tess Millay, and John Ireland as Cherry Valance. Read more…
MOBY DICK – Philip Sainton
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
For three years director John Huston had long sought to bring Herman Melville’s classic 1851 novel Moby Dick to the big screen. Studios were resistant because the story was depressing, had no female roles, nor romance, which they believed would not resonate with the public. Ever tenacious, Huston finally secured backing by United Artists, the Mirsch brothers and Moulin Productions with the caveat that a big-name actor had to play Captain Ahab. A budget of $2.0 million was provided, which would include shooting in the Irish Sea. Huston would direct and tasked Ray Bradbury with adapting the novel, with some edits provided by Huston. To fill the “Big-name stipulation, Huston cast Gregory Peck as Captain Ahab, a decision criticized as a miscast by critics and later, Peck himself. Joining him would be Richard Basehart as Ishmael, Leo Genn as Starbuck, Orson Welles as Father Mapple, and Friedrich von Ledebur as Queequeg. Read more…
JULIUS CAESAR – Miklós Rózsa
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Metro-Goldwyn-Mayer studio executives were impressed by the commercial success of Henry V in 1944 and sought to adapt another of William Shakespeare’s plays for the big screen. They chose his 1599 work Julius Caesar and tasked producer John Houseman with the project with a generous budget of $2.0 million. Houseman had a vision for the film and hired Joseph Mankiewicz to direct, as the story would be dialogue driven, which was the type of film in which Mankiewicz excelled. Once attached to the project Mankiewicz made the creative decision to personally adapt the play and write the screenplay. Houseman did not want another lavish epic, but rather a small more intimate production, which explored the drama of ambition and power politics. Second, he insisted that the film be shot in black and white because “we wanted people to relate to the newsreels, to the Fascist movements in Europe, which were still relevant”. A cast for the ages was assembled, which included Marlon Brando as Marc Anthony, James Mason as Brutus, John Gielgud as Cassius, Louis Calhern as Julius Caesar, Edmund O’Brien as Casca, Greer Garson as Calpurnia, and Deborah Kerr as Portia. Read more…
ROMEO AND JULIET – Nino Rota
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Director Franco Zeffirelli’s first film was The Taming of the Shrew in 1967, which was adapted from the original Shakespearean play. It was a commercial success, and for his next project he conceived a new adaptation of another of Shakespeare’s famous plays, “Romeo and Juliet”. A lack of funding however drove him to pursue a television production. Yet his fortunes changed when Paramount Pictures agreed to join in partnership with BHE Films, Verona Produzione and Dino de Laurentis Cinematografia to finance a big screen release. A budget of $850,000 was provided and the British team of Anthony Havelock-Allan and John Brabourne would produce the film. For the screen play Zeffirelli collaborated with Masolino d’Amico and Franco Brusati. In an audacious casting move Zeffirelli decided to cast the lead roles as minors, assuring fidelity to Shakespeare’s original conception. Leonard Whiting, a 17-year-old, was cast as Romeo, and Olivia Hussey, a 15 year old, as Juliet. Joining them would be Milo O’Shea as Friar Laurence, Michael York as Tybalt, John McEnery as Mercutio, Natasha Parry as Lady Capulet, and Robert Stephens as the Prince of Verona. Read more…
THE AGONY AND THE ECSTASY – Alex North
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
20th Century Fox Studio executive Peter Levathes took notice of Irving Stone’s best-selling novel 1961 The Agony and the Ecstasy with almost 51 million copies sold and saw opportunity. He purchased the film rights for $125,000, yet was unable to proceed with the project as the studio suffered significant financial reversals in 1962 due to cost overruns on several films, most notable “Cleopatra”. Industry icon Daryl F. Zanuck was brought in to save the studio, and within 12 months it was again operating in the black. This allowed him to move “The Agony and the Ecstasy” into production. Carol Reed was hired to both produce and direct the film with a $7.2 million budget. A stellar cast was hired including Charlton Heston as Michelangelo, Rex Harrison as Pope Julius II, Diane Cilento as Contessina Antonia Romola de Medici, Harry Andrews as Donata Bramente and Albert Lupo as the Duke of Urbino. Read more…
IL GATTOPARDO/THE LEOPARD – Nino Rota
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Studio executives of the Italian production company Titanus decided to bring to the big screen the popular 1958 best-selling novel Il Gattopardo (The Leopard) by Giuseppe Tomasi di Lampedusa. Collaboration with 20th Century Fox brought the necessary financing for a budget of $2 million. Titanus producer Goffredo Lombardo was tasked with the project, and Luchino Visconti brought in to direct. Controversy arose over casting the key role of Prince Don Fabrizio Corbera of Salina as Visconti desired Marlon Brando or Laurence Olivier but the 20th Century Fox leveraged their financing of $2 million to force Burt Lancaster into the role over Visconti’s objections. Joining him would be Claudia Cardinale as Angelica Sedera, Alain Delon as Prince Tancredi Falconeri, and Rina Morelli as Princess Maria Stella of Salina. Read more…
WHERE EAGLES DARE – Ron Goodwin
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
The genesis of Where Eagles Dare lay with actor Richard Burton, whose career was in decline. His two sons exhorted him to do an adventure film where he was the hero, and did not die in the end. Burton approached producer Elliot Kastner and asked if he had any projects that would fit the bill. He did not but Kastner asked novelist collaborator Alistair MacLean for a new original script to showcase Burton. Well, MacLean delivered the goods, and financing was provided by Winkast Productions with a budget of $6.2 million. Brian Hutton was brought in to direct and a stellar cast assembled to join Richard Burton as Major Jon Smith, including Clint Eastwood as Lieutenant Morris Schaffer, Mary Ure as Mary Ellison, Patrick Wymark as Colonel Wyatt Turner, and Michael Hordern as Vice Admiral Rotland. Read more…
THE WIND AND THE LION – Jerry Goldsmith
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Director John Milius was a longtime admirer of President Theodore Roosevelt. By chance he came upon an article “Pedecaris Incident” by Barbara W. Tuchman in American Heritage magazine and found a fascinating story which involved President Roosevelt sending American troops to free an American citizen kidnapped in Morocco by a Berber warlord. He was intrigued by the tale and further investigatory reading of the 1924 biography Raisuli, The Sultan of the Mountains by Rosita Forbes inspired him to proceed with a film adaptation. He had always dreamed of filming a grand sprawling epic film and believed this story gave him his opportunity. Given that this was a passion project, Milius wrote the screenplay himself and related: “I consider ‘The Wind and the Lion’ my first real movie. I approached it as a David Lean film, to do it in that style, a large epic canvas, to see if I could pull off great movements of troops. The story is even written that way. Two guys, the Raisuli and Teddy Roosevelt, yelling at each other across oceans.” However, to get MGM Studios buy in, he had to romanticize the story by changing the kidnapped victim to a beautiful woman, and casting Raisuli as one of the dashing leading men of the day. Herb Jaffe was tasked with producing the film and a budget of $4.5 million was provided. Casting was problematic with Omar Sharif turning down the part of Raisuli and Faye Dunaway withdrawing due to illness. Eventually Sean Connery was cast as Sharif Mulai Ahmed Mohammed Raisuli joined by Candice Bergen as Eden Pedecaris. Joining them would be Brian Keith as President Theodore Roosevelt and John Huston as Secretary of State John Hay. Read more…
THE GREAT ESCAPE – Elmer Bernstein
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Director John Sturges had long desired to bring the amazing true to life WWII novel The Great Escape by Paul Brockhill to the big screen but could never secure financial backing. All this changed in 1960 following his stunning critical and commercial success directing The Magnificent Seven. He secured financial backing from the Mirisch Company and United Artists, and would produce the film, as well as direct it with a budget of $3.8 million. A legendary cast was assembled, which included Steve McQueen as Virgil Hilts, James Garner as Lieutenant Robert Hendley, Richard Attenborough as Squadron Leader Roger Bartlett, Charles Bronson as Lieutenant Danny Velinski, James Donald as Captain Ramsey, Donald Pleasence as Lieutenant Colin Blythe, James Colburn as Flying Officer Louis Sedgwick, David McCallum as Lieutenant Commander Eric Ashley Pitt, and Hannes Messemer as Kommandant Oberst von Luger. Read more…
THE GADFLY – Dmitri Shostakovich
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
One day it dawned to director Aleksandr Faintsimmer that the popular 1897 novel Ovod – The Gadfly – by Ethel Voynich lent itself well for adaptation to the big screen. Its tale of revolutionary zeal, the excoriation of an anachronistic church and the unification of oppressed people in a modern egalitarian state had long been promoted by the Soviet Ministry of Culture. The book was also very popular with the populace, selling 2.5 million copies. He pitched his idea to the Ministry of Culture and secured backing after a review of the screenplay, which was written by Viktor Shklovsky. Lenfilm, a production unit of the Soviet Union, was formally authorized to produce the film. A fine cast was assembled, which included Oleg Strizhenov as Arthur Burton/Felice Rivarez, Marianna Strizhenova as Gemma, Nikolai Simonov as Cardinal Montanelli and Vladimir Etush as Cesare Martini. Read more…
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